Going by the intro in ‘The Raven Stone’ – the first track from Del’Noire’s newest EP – one might be tricked into believing to be listening to an orchestral soundtrack. Instead, the record quickly changes register, adventuring over eclectic electronic territories, often balanced between organic instrumentation and more leftfield soundscapes.
Over three tracks, the Finnish composer formerly known as Matyascorvinus showcases his newly-found artistic character, offering a side of himself we didn’t know was there. However, we should have known – where there’s creativity, there’s willingness to innovate. Del’Noire does exactly that, delivering a slice of blissful musical goodness and reflective material to the keen listener.
Intrigued by the project, we caught up with the Finnish talent to find out more about his artistry and future goals… interview below!
Hey Juha-Matti, how is it going? Your project is pretty unique – how would you define yourself? a composer, or a creative visionary?
Wow! Bold words. Both. I don’t know about vision, I’m only following my intuition. And ears. Of course, I do have a certain vision of what the song should sound like and how’s it about to be built. But creative? Yes. I’m blessed with a certain ability to craft songs and soundscapes. About “composer”: I’ve been thinking this question over and over again. And have found it a bit cocky to call myself a composer. However, I’m writing every single bit of notation in the machine, which turns my idea into sounds. So, in that sense, I’m a composer. Writing drums, basses, pianos, strings etc. Whether it sounds unique, I’m very happy. Suppose, it’s the only way to stand out.
I did write about one of your previous records under the name Matyascorvinus – what made you start another artistic alias? and what are your goals with Del’Noire?
I wanted to study rhythm. Matyascorvinus is free-floating with no rhythm, whatsoever. It’s lingering without edges and boundaries. As a drummer, the rhythm has always defined my job. So, I wanted to get rid of it completely. That’s what Matyascorvinus is about. When it comes to Del’Noire, I have always liked electronic music. Such as Gary Numan, Depeche Mode, various Al Jourgensen projects, Front Line Assembly etc. And Pet Shop Boys! So, I wanted to explore Matyascorvinus vibes in an electric environment. Both projects draw from the very same well, so to speak. Only the output differs.
My goals? I want to develop. Learn new things in making music. Del’Noire started as an experiment. I did not have any experience in studio work. I had to learn everything the hard way: trial and error. Times twenty. One of my goals is to make the next recording using my new skills. And if it finds an audience: nice!
Your current work is the result of a long journey; What first drew you to making music?
Maybe the example of my musical family. I remember making my first song when I was eleven. However, it took a couple of decades to start making songs seriously. That’s how my first EP was born. I also have been in bands all my life and seen my friends making songs. I always found it very cool. In addition, cover songs have never been an option. I want to make my own music. From A to Z.
“The Haunting Of Del’Noire” is your first EP with this project; very electronic and eclectic, it’s evocative, instrumental music for the receptive listener. Did you have any particular reference in mind when making it? did you get inspired by anything in particular?
There is a hurdy-gurdy in my head, playing songs from different decades almost constantly. I have exposed myself to so many different kinds of music. Hereby, there is a vast ocean of influences in my mind. I get inspired almost by everything. It does not have to be music. For example, space is very inspiring in its darkness and stunning beauty. I always find allegories of solitude from space and planets. I had some sort of reference in mind, but that did not guide my work.
I just knew what I wanted: pianos and maximum violins. I wanted to blend traditional instruments with modern beats and drum production. Violin arrangements are inspired by Finnish schlagers of the seventies. The piano has a connection to the disco music of the early eighties. To a certain extent, it also has been influenced by Modern Talking! There’s also tambourine and castanettes in A Strange Bitter Kiss. Both were used in pop/rock music for years.
What’s your creative process like? Do you work alone or with others?
Alone. Always. I do not have patience for group work. Neither in music nor in life. I’m a loner. Was already as a child! I did have lots of friends, but sometimes the best things were just for myself. Besides, years in bands have taught that whether the members have differing ambitions and interests, it gets complicated. I also hate doing things following someone else’s schedule. I tend to work very fast and determined, both in music and in life. So, I do not actually need anyone. However, it would be nice to have an extra pair of ears sometimes. When I’m unsure about something. But in that case, I send the songs to certain (few) people for evaluation and feedback.
In ‘A Letter to Mina’… who is Mina? and why is the track so vintage-sounding?
Mina Harker. Familiar to you all who have read Bram Stoker’s Dracula. A Letter To Mina is a birthday present to my wife, who asked me to make a song for her. Her name is Minna, but I found it a bit corny to make a song…say…To Minna With Love. Or something like that. So, I took a bit different angle. The letter comes from Mina’s husband, Jonathan Harker, who’s visiting Count Dracula’s castle in Transylvania. Experiencing all the nocturnal horrors of that wretched location.
And, as we know, Mina will be in harm’s way. This was very natural to me, being a fan of Gothic horror and related. The vintage sound may come from the piano and strings. I wrote the theme in fifteen minutes. The melody is very traditional, in my opinion, and has a very organic bass line, dropping occasionally from tempo. It was an easy piece for me; everything happened in no time. I’m also very happy with the final version.
Artistically speaking, what challenges have the last two years presented you with?
Good question. Matyascorvinus will always have certain challenges, being very original music. It’s not for the masses. However, it has been received very well in some places and has had a lot of coverage in general. But other challenges…not so much. Money is always a challenge, as we independent artists surely know. But it always can be fixed somehow. Besides, I can do whatever I like whenever I like. That’s the most important thing.
What are the next steps for your project? Anything exciting on the horizon?
Sure! I already have plans for the next release in my head. I suppose it will be out next fall. The most exciting thing is that now I’m wiser when comes to studio stuff. So, I’m very much looking forward to starting the new sessions ASAP. And: now there is a vision!
